Hi All,

I have the pleasure to share this concerto or strings, flute, clarinet and percussion. Looking forward to hear your feedback

The composition has been inspired by an imaginary introspective journey under hypnosis.

It is composed of 5 movements:

[0:10] I - Falling

[3:00] II - Memories

[5:38] III - Agony

[7:39] IV - Calm

[9:03] V - Waking up

Back in 2009 I had the honor to study composition with the Belgian composer Luc Brewaeys. This composition, written during the last six months of 2009, is the result of an interesting and inspiring artistic year.

Sample libraries used:

- Spitfire Chamber Strings

- Spitfire Symphonic Woodwinds

- Spitfire London Contemporary Orchestra

- Spitfire Percussion Redux

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Replies

  • Hi Marco,

     I liked your rhetoric and language very much. The flights of fancy were engaging and always interesting and the whole thing came of with an inevitability thanks to your command of technique and consistent expression. I was a bit surprised by the tonality after b102 though, but I'm sure you had your reasons and besides, it still "worked".

    Nice programming also (I have all of those sounds too, apart from LCO chamber!). This is a great showcase for Spitfire Audio to show how expressive their samples can be in the right hands and ears and because of the care you have taken, the music comes across convincingly and could be used as a calling card for any potential performers.

    So what came first, the line-up from SFA or the concerto?.........:-)

    mikehewer.com

  • Hi Mike,

    thanks for the comment, I am glad that a composer with your skills appreciates my music!

    The tonality... it came up on his own, I think I needed it for the story I am telling, that movement is when during your introspective journey you finally see the truth and everything looks clear. 

    For the programming it took about one month starting from raw midi notes (I wrote it first on paper), I think Spitfire Audio products are amazingly powerful, so I have 100% libraries from them. It makes the final result more realistic and easy to mix.

    Would be happy to contact SFA for a line-up, any idea how to do it? :)

    For the concert I am also planning to send it to an ensemble one of these days, but don't know where to start :)

    Marco

    www.marcodistefano.art

  • Hi Ray,

    thanks for sharing this feedback, it is still hard for me to work out a perfect production, still in the learning curve 

    But would appreciate more details to understand what to do better!

    For monitoring I am working most of the time with a pair of Beyerdynamic DT 880 600 ohms and then listening to the final mix with a pair of M-Audio BX5 D3. My room has several issues with low and mid frequencies for which I am using the speakers with reduced loudness feature.

    I am sure this is impacting the quality of the output in the final mix, but unluckily I cannot solve the room issues now and must live with it. Reason why I am using 90% of my time headset.

    From what I understand you are suggesting that there is too much low end and poor mid range? If this is the issue I think I could apply EQ to individual instruments to solve this.

    And anyway, it is not a final product for a CD, intention is to showcase the composition. :)

    Thanks for the feedback!



    Ray Kemp said:

    Marco,

    I'm with Mike up until "the music comes across convincingly".

    There is a big hole in the middle of the stereo image and the bass end is out of control.

    I could have a guess at the cause but not knowing how you monitor your mix it would be pointless.

    However, I fully understand if just a guide towards real players performing the piece "shrug of the shoulders".

    Ray

  • Thanks Dave,

    As said I have an issue with my room and the monitors on the corner is one of them.

    I can't change the room so I will investigate, as you suggest, to isolate the wall. Probably is going to be my investment for April

    Thanks for helping out, I think I am still far from a perfect mix but I am also doing step forward!

    Dave Dexter said:

    Don't put monitors in corners or by walls either, frequencies can "collect" and give a false reference, meaning you remove or add frequencies to counter the ones you think are missing or invasive but which aren't there (or are). Basic acoustic treatment of a few surfaces and corners, and ensuring the monitors are as decoupled as possible from any resonant surface (like a desk) also makes a difference with very little outlay. If you're short on space and the monitors have to go near walls or corners, put acoustic treatment foam immediately behind and around them on those surfaces.

    I'd also recommend not using headphones to mix, though that's a long-running debate. I used to use them; getting decent monitors and learning the basics of placement has improved my output.

    Hypnosis - Concerto per Orchestra, A contemporary composition with score
    Hi All, I have the pleasure to share this concerto or strings, flute, clarinet and percussion. Looking forward to hear your feedback The composition…
  • Very nicely done Marco--I enjoyed this very much and am very much impressed  by your talent.

    Thanks so much for posting! :)

    Thanks Bob https://soundcloud.com/bob-morabito

  • Thanks Bob! :)

    Great music also on your soundcloud!

    https://soundcloud.com/marco-di-stefano-piano
  • You're very welcome Marco, and thanks so much for the link.

    And I very much appreciate your kind words about my music!! :)

    Thanks Bob https://soundcloud.com/bob-morabito



    Marco Di Stefano said:

    Thanks Bob! :)

    Great music also on your soundcloud!

    https://soundcloud.com/marco-di-stefano-piano
  • Very impressive. I have just an amateur ear but to me it is somewhat sensational what one can do with digital music, at least with your talent. The whole composition is a true pleasure.

    How will you proceed now? Real performance, radio, ...?

    Kjell

  • Thanks Kjell!

    Is really amazing to get this feedback, I received very different comments on this composition.

    I don't really know, I plan to write more music and then maybe find an ensemble willing to play.

    For the moment focusing on composition, will post soon the piece I am working now for piano and strings.

    Again thanks for the encouragement.

    Marco

    Kjell Prytz said:

    Very impressive. I have just an amateur ear but to me it is somewhat sensational what one can do with digital music, at least with your talent. The whole composition is a true pleasure.

    How will you proceed now? Real performance, radio, ...?

    Kjell

    Hypnosis - Concerto per Orchestra, A contemporary composition with score
    Hi All, I have the pleasure to share this concerto or strings, flute, clarinet and percussion. Looking forward to hear your feedback The composition…
  • Thanks Ray

    I think is a very useful advice, I will experiment with that since I want to improve my skills also in music production, I know is not easy to be a professional like probably you are, it takes probably years of experience, but is always good to start!

    I will do this for the next piece I am now mastering, hope will be better than this.

    Thank you very much for the learning tip

    Marco

    Ray Kemp said:

    Marco,

    I deleted an earlier reply because I do not wish to get into a pointless technical discussion on room treatment.

    My room has minimal acoustic treatment but a pretty good ratio between front to back distance, height and width.

    Because these days my income from music comes solely from mastering others recordings the positioning of the monitoring system I have is paramount to my needs. No obstruction or close reflective surfaces doing much damage to direct sound here.

    I would not expect you or any other member here to concentrate their talents on such things but there are basic requirements needed to get the best out of your equipment. Listening position (distance from speakers) but never sitting central in the room. Distance between speakers. The ability to change these positions by even a small amount while listening to a pro recording of the music you want to emulate until you find an optimum position for all components including yourself. If however your ears just do not or can not detect a difference, ignore everything I say and concentrate solely on composition and orchestration.

    Ray

This reply was deleted.